Element Theatre's 'Sons' absorbing, well-told tale

ORLEANS — Element Theatre Company’s production of Arthur Miller’s “All My Sons” opened on Veterans Day — perfect timing for a play concerning the aftermath of World War II events.

But this Pulitzer Prize-winning drama elegantly explores a question so ancient it was posed with callous flippancy by the first son ever. Cain — Adam and Eve’s eldest — asks, after killing No. 2 son, Abel: “Am I my brother’s keeper?” Where does our obligation to care for and protect stop? With ourselves or our family? Or does it extend to our community, our country or even the world?

Under the guest direction of Joanna Weir Ouston from England’s Oxford School of Drama, Element’s production faithfully evokes the post-war period within the confines of a prosperous small-town Ohio family’s secluded backyard — a trim and tidy place of trellises, wicker lawn furniture and wall-to-wall grass. There’s a kind of intense clarity to the virtually flawless acting, set and costumes that brings the message home in high definition, giving it the aspect of a Greek tragedy.

In a way, this production seems almost too polished and antiseptic, detracting — ever so slightly — from its humanity and power. Still, it’s a thoroughly absorbing tale, extremely well-told and worth pondering.

A protagonist of truly classical proportions, Joe Keller (Christopher Kanaga) is a very personable and prosperous manufacturer, with his plant turning out things like pressure cookers and washing machines. But he became successful producing aeronautical parts for the military during the war.

Life is pretty good for him and his wife, Kate (Danielle Dwyer), except that their son Larry was reported missing in action 3½ years ago. Kate remains in resolute denial concerning his all-too-certain death. When the apple tree planted in his memory breaks off in a storm, she interprets it as a sign he’ll still return. Obviously, it was planted prematurely, she reasons.

As the play opens, the Kellers’ other son, the idealistic Chris (Ryan Winkles), has invited Ann Deever (Stephanie Hair) — who formerly lived next door and was engaged to Larry — to visit. He’s been writing to her for two years and wants to propose. This raises the level of tension in the household as Kate can’t tolerate the notion of Ann forsaking Larry.

Ann’s presence also summons specters from the past. Her father, Joe’s former partner, is in prison for patching up and shipping out faulty cylinder heads for aircraft engines – an action resulting in 21 pilots crashing to their deaths. We learn Joe, too, was convicted and did some time, though later exonerated and able to redeem his reputation. However, the family’s façade of normalcy crumbles as the lies and secrets that have been propping it up begin to emerge.

As Joe, Kanaga is engaging enough that we’re able to sympathize, even considering his character’s bad choices, made in the noble name of “family.” Initially, his Joe seems younger and fresher than experiences might indicate (even accounting for his ability to compartmentalize past actions); but Kanaga effectively reveals layers of sadness, panic, rage and anguish as time passes.

Dwyer’s turn as Kate is convincing and multidimensional. Even at first we see traces of humor and caring mixed with her determination to hold out superstitious hopes for Larry’s return. She seems weak. But later we see the strength behind her self-deception.

Winkles is excellent as Chris, a kind of shining knight walking about in suspenders with, perhaps, a certain blindness to reality. He gets to utter some dazzling lines. “I know you’re no worse than other men, but I thought you were better. I never saw you as a man … I saw you as my father,” he cries out to Joe. And, again, “Don’t you have a country? Don’t you live in the world?”

Haig makes a lovely Ann, a person perhaps purer in her choices than any of the others. The supporting cast is very fine as well, with Peter Haig playing a particularly significant role as Ann’s brother, George.

It’s believed “All My Sons” was inspired by an actual incident Miller read about in a newspaper article: a conspiracy between management at an aeronautical firm and Army inspectors to certify faulty aircraft engines. The pressure to produce for the war effort was intense, with the possibility of failure significant if a company lost its military contract. So Joe Keller’s decisions weren’t easy, and perhaps not black and white. And we often think ours aren’t either.

Or are they? Miller — to be sure — lays out the challenge.

NOTE: In conjunction with its Sunday matinees, Element is serving a 1 p.m. lunch ($30, reservations required) beforehand and talk-backs with cast members following the performances.